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Ranciere Politics of Aesthetics PDF
Ranciere Politics of Aesthetics PDF
JACQUES RANCIÈRE
A
c ontinuum
The Tower Building, 11 York Road, London SEI 7NX,
80 Maiden Lane, Suite 704, New York NY 10038
Translator’s Introduction 1
Jacques Rancière’s Politics of Perception 1
Notes 102
Index 108
The Distribution o f the Sensible
Foreword
The following pages respond to a twofold solicitation. At their origin
was a set of questions asked by two young philosophers, Muriel Combes
and Bernard Aspe, for their journal, Alice, and more specifically for the
section entitled ‘The Factory of the Sensible’. This section is concerned
with aesthetic acts as configurations of experience that create new
modes of sense perception and induce novel forms of political subjec
tivity. It is within this framework that they interviewed me on the
consequences of my analyses—in Disagreement—of the distribution of
the sensible that is at stake in politics, and thus of a certain aesthetics
of politics. Their questions, prompted as well by a novel reflection on
the major avant-garde theories and experiments concerning the fusion
of art and life, dictate the structure of the present text. At the request
of Eric Hazan and Stéphanie Grégoire, I developed my responses and
clarified their presuppositions [8] as far as possible.4
This particular solicitation is, however, inscribed in a broader
context. The proliferation of voices denouncing the crisis of art or its
fatal capture by discourse, the pervasiveness of the spectacle or the
death of the image, suffice to indicate that a battle fought yesterday
over the promises of emancipation and the illusions and disillu
sions of history continues today on aesthetic terrain. The trajectory
of Situationist discourse - stemming from an avant-garde artistic
movement in the post-war period, developing into a radical critique of
politics in the 1960s, and absorbed today into the routine of the disen
chanted discourse that acts as the critical’ stand-in for the existing
order - is undoubtedly symptomatic of the contemporary ebb and
flow of aesthetics and politics, and of the transformations of avant-
garde thinking into nostalgia. It is, however, the work of Jean-François
Lyotard that best marks the way in which ‘aesthetics’ has become, in
the last twenty years, the privileged site where the tradition of critical
thinking has metamorphosed into deliberation on mourning. The
reinterpretation of the Kantian analysis [9] of the sublime introduced
into the field of art a concept that Kant had located beyond it. It did
this in order to more effectively make art a witness to an encounter
with the unpresentable that cripples all thought, and thereby a witness
for the prosecution against the arrogance of the grand aesthetico-
political endeavour to have ‘thought’ become world’. In this way,
reflection on art became the site where a mise-en-scène of the original
abyss of thought and the disaster of its misrecognition continued after
the proclamation of the end of political utopias. A number of contem
porary contributions to thinking the disasters of art or the image
convert this fundamental reversal into more mediocre prose.
This familiar landscape of contemporary thought defines the context
in which these questions and answers are inscribed, but it does not
specify their objective. The following responses will not lay claim yet
again, in the face of postmodern disenchantment, to the avant-garde
vocation of art or to the vitality of a modernity that links the conquests
of artistic innovation to the victories of emancipation. These pages do
not have their origin in a desire to take a polemical stance. They are
inscribed in a long-term project that aims at re-establishing a debate’s
conditions of intelligibility. This means, first of all, elaborating the
very meaning of [10] what is designated by the term aesthetics, which
denotes neither art theory in general nor a theory that would consign
art to its effects on sensibility. Aesthetics refers to a specific regime for
identifying and reflecting on the arts: a mode of articulation between
ways of doing and making, their corresponding forms of visibility, and
possible ways of thinking about their relationships (which presupposes
a certain idea of thought’s effectivity). Defining the connections within
this aesthetic regime of the arts, the possibilities that they determine,
and their modes of transformation, such is the present objective of
my research and of a seminar held over the past few years within the
framework provided by the University of Paris-VIII and the Collège
International de Philosophie. The results of this research will not be
found in the present work; their elaboration will follow its own proper
pace. I have nevertheless attempted to indicate a few historical and
conceptual reference points appropriate for reformulating certain
problems that have been irremediably confused by notions that pass off
conceptual prejudices as historical determinations and temporal delim
itations as conceptual determinations. Among the foremost of these
notions figures, of course, the concept of modernity, today the source
of all the jumbled miscellany that arbitrarily sweeps [11] together such
figures as Hölderlin, Cézanne, Mallarmé, Malevich, or Duchamp into
a vast whirlwind where Cartesian science gets mixed up with revolu
tionary parricide, the age of the masses with Romantic irrationalism,
the ban on representation with the techniques of mechanized repro
duction, the Kantian sublime with the Freudian primal scene, the flight
of the gods with the extermination of the Jews in Europe. Indicating
the general lack of evidence supporting these notions obviously does
not entail adhering to the contemporary discourses on the return to
the simple reality of artistic practices and its criteria of assessment. The
connection between these ‘simple practices’ and modes of discourse,
forms of life, conceptions of thought, and figures of the community
is not the fruit of a maleficent misappropriation. On the contrary, the
effort to think through this connection requires forsaking the unsat
isfactory mise-en-scène of the end’ and the ‘return that persistently
occupies the terrain of art, politics, and any other object of thought.
[12]
The Distribution o f the Sensible: Politics
and Aesthetics
In Disagreement, politics is examined from the perspective o f what you
call the ‘distribution o f th e sensible\ In you r opinion, does this expression
provide the key to the necessary ju n ction between aesthetic practices and
political practices?
I do not think that the notions of modernity and the avant-garde have
been very enlightening when it comes to thinking about the new forms
of art that have emerged since the last century or the relations between
aesthetics and politics. They actually confuse two very different
things: the historicity specific to a regime of the arts in general and
the decisions to break with the past or anticipate the future that take
place within this regime. The notion of aesthetic modernity conceals -
without conceptualizing it in the least - the singularity of a particular
regime of the arts, that is [27] to say of a specific type of connection
between ways of producing works of art or developing practices, forms
of visibility that disclose them, and ways of conceptualizing the former
and the latter.
A detour is necessary here in order to clarify this notion and situate
the problem. With regard to what we call art, it is in fact possible
to distinguish, within the Western tradition, three major regimes of
identification. There is first of all what I propose to call an ethical
regime of images. In this regime, art’ is not identified as such but is
subsumed under the question of images. As a specific type of entity,
images are the object of a twofold question: the question of their origin
(and consequently their truth content) and the question of their end
or purpose, the uses they are put to and the effects they result in. The
question of images of the divine and the right to produce such images
or the ban placed on them falls within this regime, as well as the
question of the status and signification of the images produced. The
entire Platonic polemic against the simulacra of painting, poems, and
the stage also falls within this regime.6 Plato does not, as it is often
claimed, place art under the yoke of politics. This very distinction
would have made no sense for Plato since art did not exist for [28] him
but only arts, ways of doing and making. And it is among these that
he traces the dividing line: there are true arts, that is to say forms of
knowledge based on the imitation of a model with precise ends, and
artistic simulacra that imitate simple appearances. These imitations,
differentiated by their origin, are then distinguished by their end or
purpose, by the way in which the poem’s images provide the spectators,
both children and adult citizens, with a certain education and fit in
with the distribution of the city’s occupations. It is in this sense that
I speak of an ethical regime of images. In this regime, it is a matter
of knowing in what way images’ mode of being affects the ethos, the
mode of being of individuals and communities. This question prevents
art’ from individualizing itself as such.7
The poetic - or representative - regime of the arts breaks away from
the ethical regime of images. It identifies the substance of art - or
rather of the arts - in the couple poieis!m im esis. The mimetic principle
is not at its core a normative principle stating that art must make
copies resembling their models. It is first of all a pragmatic principle
that isolates, within the general domain of the arts (ways of doing and
making), certain particular forms of art that produce specific entities
[29] called imitations. These imitations are extricated, at one and the
same time, from the ordinary control of artistic products by their use
and from the legislative reign of truth over discourses and images.
Such is the vast operation carried out by the Aristotelian elaboration of
m im esisz n à b y the privilege accorded to tragic action. It is the substance
of the poem, the fabrication of a plot arranging actions that represent
the activities of men, which is the foremost issue, to the detriment of
the essence of the image, a copy examined with regard to its model. Such
is the principle guiding the functional change in the theatrical model
I was speaking of earlier. The principle regulating the external delimi
tation of a well-founded domain of imitations is thus at the same time
a normative principle of inclusion. It develops into forms of norma-
tivity that define the conditions according to which imitations can be
recognized as exclusively belonging to an art and assessed, within this
framework, as good or bad, adequate or inadequate: partitions between
the representable and the unrepresentable; the distinction between
genres according to what is represented; principles for adapting forms
of expression to genres and thus to the subject matter represented; the
distribution of resemblances [30] according to principles of verisimil
itude, appropriateness, or correspondence; criteria for distinguishing
between and comparing the arts; etc.
I call this regime p oetic in the sense that it identifies the arts - what
the Classical Age would later call the ‘fine arts’ - within a classification
of ways of doing and making, and it consequently defines proper ways
of doing and making as well as means of assessing imitations. I call
it representative insofar as it is the notion of representation or mimesis
that organizes these ways of doing, making, seeing, and judging. Once
again, however, mimesis is not the law that brings the arts under the
yoke of resemblance. It is first of all a fold in the distribution of ways of
doing and making as well as in social occupations, a fold that renders
the arts visible. It is not an artistic process but a regime of visibility
regarding the arts. A regime of visibility is at once what renders the
arts autonomous and also what links this autonomy to a general order
of occupations and ways of doing and making. This is what I evoked
earlier concerning the logic of representation, which enters into a
relationship of global analogy with an overall hierarchy of political
and social occupations. The representative primacy of action over
characters or of narration over [31] description, the hierarchy of genres
according to the dignity of their subject matter, and the very primacy
of the art of speaking, of speech in actuality, all of these elements figure
into an analogy with a fully hierarchical vision of the community.
The aesthetic regime of the arts stands in contrast with the repre
sentative regime. I call this regime aesthetic because the identification
of art no longer occurs via a division within ways of doing and making,
but it is based on distinguishing a sensible mode of being specific to
artistic products. The word aesthetics does not refer to a theory of
sensibility, taste, and pleasure for art amateurs. It strictly refers to the
specific mode of being of whatever falls within the domain of art, to
the mode of being of the objects of art. In the aesthetic regime, artistic
phenomena are identified by their adherence to a specific regime of
the sensible, which is extricated from its ordinary connections and is
inhabited by a heterogeneous power, the power of a form of thought
that has become foreign to itself: a product identical with something
not produced, knowledge transformed into non-knowledge, logos
identical with pathos, the intention of the unintentional, etc. This idea
of a regime of the sensible that has become foreign to itself, the locus
for a form of thought that has become foreign to itself, is the invariable
core in the [32] identifications of art that have configured the aesthetic
mode of thought from the outset: Vico’s discovery of the ‘true Homer’
as a poet in spite of himself, Kantian genius’ that is unaware of the law
it produces, Schiller’s ‘aesthetic state’ that suspends both the activity of
the understanding and sensible passivity, Schelling’s definition of art as
the identity between a conscious process and an unconscious process,
etc. The aesthetic mode of thought likewise runs through the specific
definitions that the arts have given to themselves in the Modern Age:
Proust’s idea of a book that would be entirely planned out and fully
removed from the realm of the will; Mallarmé’s idea of a poem by the
spectator-poet, written ‘without the scribe’s apparatus’ by the steps
of an illiterate dancer; the Surrealist practice of producing work that
expresses the artist’s unconscious with the outdated illustrations in
catalogues or newspaper serials from the previous century; Bresson’s
idea of film as the film-maker’s thought withdrawn from the body of
the ‘models’ who, by unthinkingly repeating the words and gestures
he lays down for them, manifest their proper truth without either the
film-maker or the models knowing it; etc.
It is pointless to go on with definitions and examples. We need
to indicate, on the contrary, the heart of the problem. The aesthetic
regime [33] of the arts is the regime that strictly identifies art in the
singular and frees it from any specific rule, from any hierarchy of
the arts, subject matter, and genres. Yet it does so by destroying the
mimetic barrier that distinguished ways of doing and making affiliated
with art from other ways of doing and making, a barrier that separated
its rules from the order of social occupations. The aesthetic regime
asserts the absolute singularity of art and, at the same time, destroys
any pragmatic criterion for isolating this singularity. It simultaneously
establishes the autonomy of art and the identity of its forms with the
forms that life uses to shape itself. Schiller’s aesthetic state, which is this
regimes first manifesto (and remains, in a sense, unsurpassable), clearly
indicates this fundamental identity of opposites. The aesthetic state is
a pure instance of suspension, a moment when form is experienced for
itself. Moreover, it is the moment of the formation and education of a
specific type of humanity.
From this perspective, it is possible to understand the functions
served by the notion of modernity. The aesthetic regime of the arts, it
can be said, is the true name for what is designated by the incoherent
label ‘modernity’. However, ‘modernity’ is more than an incoherent
label. It is, in its different versions, the concept that diligently works
at [34] masking the specificity of this regime of the arts and the very
meaning of the specificity of regimes of art. It traces, in order either
to exalt or deplore it, a simple line of transition or rupture between
the old and the new, the representative and the non-representative or
the anti-representative. The basis for this simplistic historical account
was the transition to non-figurative representation in painting. This
transition was theorized by being cursorily assimilated into artistic
‘modernity’s’ overall anti-mimetic destiny. When the eulogists of this
form of modernity saw the exhibition-spaces for the well-behaved
destiny of modernity invaded by all kinds of objects, machines, and
unidentified devices, they began denouncing the ‘tradition of the new’,
a desire for innovation that would reduce artistic modernity to the
emptiness of its self-declaration. However, it is the starting point that
is erroneous. The leap outside of mimesis is by no means the refusal of
figurative representation. Furthermore, its inaugural moment has often
been called realism, which does not in any way mean the valorization
of resemblance but rather the destruction of the structures within
which it functioned. Thus, novelistic realism is first of all the reversal
of the hierarchies of representation (the primacy of the narrative over
the descriptive [35] or the hierarchy of subject matter) and the adoption
of a fragmented or proximate mode of focalization, which imposes raw
presence to the detriment of the rational sequences of the story. The
aesthetic regime of the arts does not contrast the old with the new. It
contrasts, more profoundly, two regimes of historicity. It is within the
mimetic regime that the old stands in contrast with the new. In the
aesthetic regime of art, the future of art, its separation from the present
of non-art, incessantly restages the past.
Those who exalt or denounce the ‘tradition of the new’ actually
forget that this tradition has as its strict complement the newness
of the tradition. The aesthetic regime of the arts did not begin with
decisions to initiate an artistic rupture. It began with decisions to
reinterpret what makes art or what art makes: Vico discovering the
‘true Homer, that is to say not an inventor of fables and characters but
a witness to the image-laden language and thought of ancient times;
Hegel indicating the true subject matter of Dutch genre painting: not
in stories or descriptions of interiors but a nations freedom displayed in
reflections of light; Hölderlin reinventing Greek tragedy; Balzac [36]
contrasting the poetry of the geologist who reconstructs worlds out
of tracks and fossils with the poetry that makes do with reproducing
a bit of agitation in the soul; Mendelssohn replaying the St. M atthew
Passion\ etc. The aesthetic regime of the arts is first of all a new regime
for relating to the past. It actually sets up as the very principle of
artisticity the expressive relationship inherent in a time and a state
of civilization, a relationship that was previously considered to be the
‘non-artistic’ part of works of art (the part that was excused by invoking
the crudeness of the times when the author lived). The aesthetic regime
of the arts invents its revolutions on the basis of the same idea that
caused it to invent the museum and art history, the notion of classicism
and new forms of reproduction... And it devotes itself to the invention
of new forms of life on the basis of an idea of what art was, an idea of
what art w ould have been. When the Futurists or the Constructivists
declared the end of art and the identification of its practices with the
practices that construct, decorate, or give a certain rhythm to the times
and spaces of communal life, they proposed an end of art equivalent to
the identification of art with the life of the community. This proposal
is directly dependent on the Schillerian and Romantic reinterpretation
of Greek art as a community’s mode of life, while also communicating,
[37] in other respects, with the new styles introduced by the inventors
of advertising who, for their part, did not propose a revolution but
only a new way of living amongst words, images, and commodities.
The idea of modernity is a questionable notion that tries to make clear-
cut distinctions in the complex configuration of the aesthetic regime
of the arts. It tries to retain the forms of rupture, the iconoclastic
gestures, etc., by separating them from the context that allows for their
existence: history, interpretation, patrimony, the museum, the perva
siveness of reproduction... The idea of modernity would like there to
be only one meaning and direction in history, whereas the temporality
specific to the aesthetic regime of the arts is a co-presence of heteroge
neous temporalities.
The notion of modernity thus seems to have been deliberately
invented to prevent a clear understanding of the transformations of
art and its relationships with the other spheres of collective experience.
The confusion introduced by this notion has, it seems to me, two
major forms. Both of them, without analysing it, rely on the contra
diction constitutive of the aesthetic regime of the arts, which makes art
into an autonomous form o f life and thereby sets down, at one and the
same time, the autonomy of art and its identification with a moment
in life’s process of self-formation. The two [38] major variants of the
discourse on ‘modernity’ derive from this contradiction. The first
variant would have modernity identified simply with the autonomy
of art, an ‘anti-mimetic’ revolution in art identical with the conquest
of the pure form of art finally laid bare. Each individual art would
thus assert the pure potential of art by exploring the capabilities of
its specific medium. Poetic or literary modernity would explore the
capabilities of a language diverted from its communicational uses.
Pictorial modernity would bring painting back to its distinctive feature:
coloured pigment and a two-dimensional surface. Musical modernity
would be identified with the language of twelve sounds, set free from
any analogy with expressive language, etc. Furthermore, these specific
forms of modernity would be in a relationship of distant analogy with
a political modernity susceptible to being identified, depending on the
time period, with revolutionary radicality or with the sober and disen
chanted modernity of good republican government. The main feature
of what is called the ‘crisis of art’ is the overwhelming defeat of this
simple modernist paradigm, which is forever more distant from the
mixtures of genres and mediums as well as from the numerous political
possibilities inherent in the arts’ contemporary forms. [39]
This overwhelming defeat is obviously overdetermined by the
modernist paradigm’s second major form, which might be called
modernatism. I mean by this the identification of forms from the
aesthetic regime of the arts with forms that accomplish a task or fulfil
a destiny specific to modernity. At the root of this identification there
is a specific interpretation of the structural and generative contra
diction of aesthetic ‘form’. It is, in this case, the determination of
art qua form and self-formation of life that is valorized. The starting
point, Schillers notion of the aesthetic education o f man, constitutes
an unsurpassable reference point. It is this notion that established the
idea that domination and servitude are, in the first place, part of an
ontological distribution (the activity of thought versus the passivity of
sensible matter). It is also this notion that defined a neutral state, a state
of dual cancellation, where the activity of thought and sensible recep
tivity become a single reality. They constitute a sort of new region of
being - the region of free play and appearance - that makes it possible
to conceive of the equality whose direct materialization, according to
Schiller, was shown to be impossible by the French Revolution. It is this
specific mode of living in the sensible world that must be developed by
‘aesthetic education [40] in order to train men susceptible to live in
a free political community. The idea of modernity as a time devoted
to the material realization of a humanity still latent in mankind
was constructed on this foundation. It can be said, regarding this
point, that the ‘aesthetic revolution produced a new idea of political
revolution: the material realization of a common humanity still only
existing as an idea. This is how Schillers ‘aesthetic state’ became
the ‘aesthetic programme’ of German Romanticism, the programme
summarized in the rough draft written together by Hegel, Hölderlin,
and Schelling: the material realization of unconditional freedom and
pure thought in common forms of life and belief. It is this paradigm of
aesthetic autonomy that became the new paradigm for revolution, and
it subsequently allowed for the brief but decisive encounter between
the artisans of the Marxist revolution and the artisans of forms for a
new way of life. The failure of this revolution determined the destiny
- in two phases - of modernatism. At first, artistic modernatism, in
its authentic revolutionary potential for [41] hope and defiance, was
set against the degeneration of political revolution. Surrealism and
the Frankfurt School were the principal vehicles for this counter
modernity. The failure of political revolution was later conceived of as
the failure of its ontologico-aesthetic model. Modernity thus became
something like a fatal destiny based on a fundamental forgetting:
the essence of technology according to Heidegger, the revolutionary
severing of the kings head as a severing of tradition in the history of
humanity, and finally the original sin of human beings, forgetful of
their debt to the Other and of their submission to the heterogeneous
powers of the sensible.
What is called postmodernism is really the process of this reversal. At
first, postmodernism brought to light everything in the recent evolution
of the arts and possible ways of thinking the arts that destroyed modern
ism’s theoretical edifice: the crossing-over and mixture between the
arts that destroyed Lessings conventional set of principles concerning
the separation of the arts; the collapse of the paradigm of functionalist
architecture and the return of the curved line and embellishment; the
breakdown of the pictorial/two-dimensional/abstract model through
the return of figurative representation and [42] signification as well as
the slow invasion of paintings exhibition-space by three-dimensional
and narrative forms, from Pop Art to installation art and ‘rooms’ for
video art;8 the new combinations of painting and language as well as
of monumental sculpture and the projection of shadows and lights; the
break-up of the serial tradition through new mixtures between musical
systems, genres, and epochs. The teleological model of modernity
became untenable at the same time as its divisions between the
‘distinctive features’ of the different arts, or the separation of a pure
domain of art. Postmodernism, in a sense, was simply the name under
whose guise certain artists and thinkers realized what modernism had
been: a desperate attempt to establish a ‘distinctive feature of art’ by
linking it to a simple teleology of historical evolution and rupture.
There was not really a need, moreover, to make this late recognition
of a fundamental fact of the aesthetic regime of the arts into an actual
temporal break, the real end of a historical period.
However, it was precisely the next episode that showed that postmod
ernism was more than this. The joyful, postmodern artistic license, its
[43] exaltation of the carnival of simulacra, all sorts of interbreeding
and hybridization, transformed very quickly and came to challenge
the freedom or autonomy that the modernatist principle conferred - or
would have conferred - upon art the mission of accomplishing. There
was thus a return from the carnival to the primal scene. However, the
primal scene can be taken in two senses, either as the starting point of a
process or as an original separation. Modernist faith had latched on to
the idea of the ‘aesthetic education of man’ that Schiller had extracted
from the Kantian analytic of the beautiful. The postmodern reversal
had as its theoretical foundation Lyotard’s analysis of the Kantian
sublime, which was reinterpreted as the scene of a founding distance
separating the idea from any sensible presentation. From this moment
onward, postmodernism came into harmony with the mourning and
repenting of modernatist thought, and the scene of sublime distance
came to epitomize all sorts of scenes of original distance or original
sin: the Heideggerian flight of the gods, the irreducible aspect of
the unsymbolizable object and the death drive as analysed by Freud,
the voice of the Absolutely Other declaring a ban on representation,
the revolutionary murder of the Father. Postmodernism thus became
the grand threnody of the unrepresentable/intractable [44] /irredeemable,
denouncing the modern madness of the idea of a self-emancipation of
mankinds humanity and its inevitable and interminable culmination
in the death camps.
The notion of the avant-garde defines the type of subject suitable
to the modernist vision and appropriate, according to this vision,
for connecting the aesthetic to the political. Its success is due less to
the convenient connection it proposes between the artistic idea of
innovation and the idea of politically-guided change, than to the more
covert connection it establishes between two ideas of the avant-garde’.
On the one hand, there is the topographical and military notion of the
force that marches in the lead, that has a clear understanding of the
movement, embodies its forces, determines the direction of historical
evolution, and chooses subjective political orientations.9 In short, there
is the idea that links political subjectivity to a certain form: the party,
an advanced detachment that derives its ability to lead from its ability
to read and interpret the signs of history. On the other hand, there
is another idea of the avant-garde that, in accordance with Schiller’s
model, is rooted in the aesthetic anticipation of the future. If the
concept of the avant-garde has any meaning in the aesthetic regime of
the arts, it is on this side of things, not on the side of the [45] advanced
detachments of artistic innovation but on the side of the invention of
sensible forms and material structures for a life to come. This is what
the ‘aesthetic’ avant-garde brought to the ‘political’ avant-garde, or
what it wanted to bring to it - and what it believed to have brought to
it - by transforming politics into a total life programme. The history of
the relations between political parties and aesthetic movements is first
of all the history of a confusion, sometimes complacently maintained,,
at other times violently denounced, between these two ideas of the
avant-garde, which are in fact two different ideas of political subjec
tivity: the archi-political idea of a party, that is to say the idea of a
form of political intelligence that sums up the essential conditions for
change, and the meta-political idea of global political subjectivity, the
idea of the potentiality inherent in the innovative sensible modes of
experience that anticipate a community to come. There is, however,
nothing accidental about this confusion. It is not the case, as today’s
doxa would have us believe, that artists’ ambitious claims to a total
revolution of the sensible paved the way for totalitarianism. It is rather
that the very idea of a political avant-garde is divided between the
strategic conception and the aesthetic conception of the avant-garde.
[46]
Mechanical Arts and the Promotion o f
the Anonymous
In one o f you r texts, you establish a connection between the developm ent o f
photography and film as ‘m echanical’ arts and the birth o f'n ew history'.10
Can yo u explain this connection? Does it correspond to Benjam ins idea
that the masses as such acquired visibility at the beginning o f the century
with the help o f the ‘m echanical’ arts?
There are two problems here that certain people confuse in order to
construct the phantom of a historical reality that would solely be made
up of ‘fictions’. The first problem concerns the relationship between
history and historicity, that is to say the relationship of the historical
agent to the speaking being. The second problem concerns the idea
of fiction and the relationship between [55] fictional rationality and
the modes of explanation used for historical and social reality, the
relationship between the logic of fiction and the logic of facts.
It is preferable to begin with the second problem, the ‘actuality’ of
fiction analysed by the text you refer to.15 This actuality itself raises
a twofold question: the general question of fiction’s rationality, i.e.
the distinction between fiction and falsity, and the question of the
distinction - or the indistinction - between the modes of intelligibility
specific to the construction of stories and the modes of intelligibility
used for understanding historical phenomena. Let’s start from the
beginning. The specificity of the representative regime of the arts is
characterized by the separation between the idea of fiction and that of
lies. It is this regime that confers autonomy on the arts’ various forms in
relationship to the economy of communal occupations and the counter
economy of simulacra specific to the ethical regime of images. This is
what is essentially at stake in Aristotle’s Poetics, which safeguards the
forms of poetic mimesis from the Platonic suspicion concerning what
images consist of and their end or purpose. The Poetics declares that
the arrangement of a poem’s actions is not equivalent to the fabrication
of a simulacrum.16 It is a play of [56] knowledge that is carried out in
a determined space-time. To pretend is not to put forth illusions but,
to elaborate intelligible structures. Poetry owes no explanation for the
‘truth’ of what it says because, in its very principle, it is not made up of
images or statements, but fictions, that is to say arrangements between
actions. The other consequence that Aristotle derives from this is the
superiority of poetry, which confers a causal logic on the arrangement
of events, over history, condemned to presenting events according
to their empirical disorder. In other words - and this is obviously
something that historians do not like to examine too closely - the clear
division between reality and fiction makes a rational logic of history
impossible as well as a science of history.
The aesthetic revolution rearranges the rules of the game by making
two things interdependent: the blurring of the borders between the
logic of facts and the logic of fictions an d the new mode of rationality
that characterizes the science of history. By declaring that the principle
of poetry is not to be found in fiction but in a certain arrangement of
the signs of language, the Romantic Age blurred the dividing line that
isolated art from the jurisdiction of statements or images, as well as
the dividing line that separated the [57] logic of facts from the logic of
stories. It is not the case, as is sometimes said, that it consecrated the
‘autotelism’ of language, separated from reality. It is the exact opposite.
The Romantic Age actually plunged language into the materiality of
the traits by which the historical and social world becomes visible to
itself, be it in the form of the silent language of things or the coded
language of images. Circulation within this landscape of signs defines,
moreover, the new fictionality, the new way of telling stories, which
is first of all a way of assigning meaning to the ‘empirical’ world of
lowly actions and commonplace objects. Fictional arrangement is
no longer identified with the Aristotelian causal sequence of actions
‘according to necessity and plausibility’. It is an arrangement of signs.
However, this literary arrangement of signs is by no means the solitary
self-referentiality of language. It is the identification of modes of
fictional construction with means of deciphering the signs inscribed
in the general aspect of a place, a group, a wall, an article of clothing,
a face. It is the association between, on the one hand, accelerations or
decelerations of language, its shuffling of images or sudden changes of
tone, all its differences of potential between the insignificant and the
overly significant or overly meaningful [58], and on the other hand, the
modalities of a trip through the landscape of significant traits deposited
in the topography of spaces, the physiology of social circles, the silent
expression of bodies. The ‘fictionality’ specific to the aesthetic age is
consequently distributed between two poles: the potential of meaning
inherent in everything silent and the proliferation of modes of speech
and levels of meaning.
The aesthetic sovereignty of literature does not therefore amount to
the reign of fiction. On the contrary, it is a regime in which the logic
of descriptive and narrative arrangements in fiction becomes funda
mentally indistinct from the arrangements used in the description and
interpretation of the phenomena of the social and historical world.
When Balzac places his reader before the entwined hieroglyphics on
the tottering and heteroclite façade of the house in At the Sign o f the Cat
and Racket, or has his reader enter an antique dealers shop, with the
hero of The M agic Skin,17 where jumbled up together are objects both
profane and sacred, uncivilized and cultured, antique and modern,
that each sum up a world, when he makes Cuvier the true poet recon
structing a world from a fossil, he establishes a regime of equivalence
between the signs of the new novel and those of the description or [59]
interpretation of the phenomena of a civilization. He forges this new
rationality of the obvious and the obscure that goes against the grand
Aristotelian arrangements and that would become the new rationality
for the history of material life (which stands in opposition to the
histories of great names and events).
The Aristotelian dividing line between two ‘stories’ or ‘histories’
- poets’ stories and the history of historians - is thereby revoked,
the dividing line that not only separated reality and fiction but also
empirical succession and constructed necessity. Aristotle established
the superiority of poetry, recounting ‘what could happen’ according
to the necessity or plausibility of the poetic arrangement of actions,
over history, conceived of as the empirical succession of events, of
‘what happened’. The aesthetic revolution drastically disrupts things:
testimony and fiction come under the same regime of meaning. On
the one hand, the ‘empirical’ bears the marks of the true in the form
of traces and imprints. ‘What happened’ thus comes directly under a
regime of truth, a regime that demonstrates the necessity behind what
happened. On the other hand, ‘what could happen’ no longer has the
autonomous and linear form [60] of the arrangement of actions. The
poetic ‘story’ or ‘history’ henceforth links the realism that shows us
the poetic traces inscribed directly in reality with the artificialism that
assembles complex machines of understanding.
This connection was transferred from literature to the new art
of narrative, film, which brought to its highest potential the double
resource of the silent imprint that speaks and the montage that calcu
lates the values of truth and the potential for producing meaning.
Documentary film, film devoted to the ‘real’, is in this sense capable
of greater fictional invention than ‘fiction’ film, readily devoted to a
certain stereotype of actions and characters. Chris Marker’s Le Tombeau
d ’A lexandre (The Last Bolshevik), the object of the article you refer to,
fictionalizes the history of Russia from the time of the czars to the post
communist period through the destiny of a film-maker, Alexander
Medvedkin. Marker does not make him into a fictional character; he
does not tell fabricated stories about the USSR. He plays off of the
combination of different types of traces (interviews, significant faces,
archival documents, extracts from documentary and fictional films,
etc.) in order to suggest possibilities for thinking [61] this story or
history. The real must be fictionalized in order to be thought. This
proposition should be distinguished from any discourse - positive or
negative - according to which everything is ‘narrative’, with alterna
tions between ‘grand’ narratives and ‘minor’ narratives. The notion
of ‘narrative’ locks us into oppositions between the real and artifice
where both the positivists and the deconstructionists are lost. It is not
a matter of claiming that everything is fiction. It is a matter of stating
that the fiction of the aesthetic age defined models for connecting
the presentation of facts and forms of intelligibility that blurred the
border between the logic of facts and the logic of fiction. Moreover,
these models were taken up by historians and analysts of social reality.
Writing history and writing stories come under the same regime of
truth. This has nothing whatsoever to do with a thesis on the reality
or unreality of things. On the contrary, it is clear that a model for the
fabrication of stories is linked to a certain idea of history as common
destiny, with an idea of those who make history’, and that this inter
penetration of the logic of facts and the logic of stories is specific to an
age when anyone and everyone is considered to be participating in the
task of ‘making’ history. Thus, it is not a matter of claiming that [62]
‘History’ is only made up of stories that we tell ourselves, but simply
that the ‘logic of stories’ and the ability to act as historical agents go
together. Politics and art, like forms of knowledge, construct ‘fictions’,
that is to say m aterial rearrangements of signs and images, relationships
between what is seen and what is said, between what is done and what
can be done.
It is here that we encounter the other question that you asked, which
concerns the relationship between literarity and historicity. Political
statements and literary locutions produce effects in reality. They
define models of speech or action but also regimes of sensible intensity.
They draft maps of the visible, trajectories between the visible and the
sayable, relationships between modes of being, modes of saying, and
modes of doing and making. They define variations of sensible inten
sities, perceptions, and the abilities of bodies.18 They thereby take hold
of unspecified groups of people, they widen gaps, open up space for
deviations, modify the speeds, the trajectories, and the ways in which
groups of people adhere to a condition, react to situations, recognize
their images. They reconfigure the map of the sensible by interfering
with the functionality of gestures and rhythms [63] adapted to the
natural cycles of production, reproduction, and submission. Man is
a political animal because he is a literary animal who lets himself be
diverted from his ‘natural’ purpose by the power of words. This liter
arity is at once the condition and the effect of the circulation of‘actual’
literary locutions. However, these locutions take hold of bodies and
divert them from their end or purpose insofar as they are not bodies in
the sense of organisms, but quasi-bodies, blocks of speech circulating
without a legitimate father to accompany them toward their authorized
addressee. Therefore, they do not produce collective bodies. Instead,
they introduce lines of fracture and disincorporation into imaginary
collective bodies. This has always been, as is well known, the phobia of
those in power and the theoreticians of good government, worried that
the circulation of writing would produce ‘disorder in the established
system of classification. It was also, in the nineteenth century, the
phobia o f‘actual5writers who wrote in order to denounce the literarity
that overflows the institution of literature and leads its products astray.
It is true that the circulation of these quasi-bodies causes modifica
tions in the sensory perception of what is common to the community,
in the relationship [64] between what is common to language and the
sensible distribution of spaces and occupations. They form, in this way,
uncertain communities that contribute to the formation of enunciative
collectives that call into question the distribution of roles, territories,
and languages. In short, they contribute to the formation of political
subjects that challenge the given distribution of the sensible. A political
collective is not, in actual fact, an organism or a communal body.
The channels for political subjectivization are not those of imaginary
identification but those of ‘literary’ disincorporation.19
I am not sure that the notion of utopia takes this into account. It is
a word whose definitional capabilities have been completely devoured
by its connotative properties. Sometimes it refers to the mad delusions
that lead to totalitarian catastrophe; sometimes it refers, conversely, to
the infinite expansion of the field of possibility that resists all forms of
totalizing closure. From the point of view that concerns us here, i.e. the
point of view of the reconfigurations of the shared sensible order, the
word utopia harbours two contradictory meanings. Utopia is, in one
respect, the unacceptable, a no-place, the extreme point of a polemical
reconfiguration of the sensible, which breaks down the categories
that define what is considered to be obvious. However, it is also the
configuration of a proper place, a [65] non-polemical distribution of
the sensible universe where what one sees, what one says, and what one
makes or does are rigorously adapted to one another. Utopias and forms
of utopian socialism functioned based on this ambiguity. On the one
hand, they dismissed the obvious sensible facts in which the normality
of domination is rooted. On the other hand, they proposed a state
of affairs where the idea of the community would have its adequate
forms of incorporation, a state of affairs that would therefore abolish
the dispute concerning the relations of words to things that makes
up the heart of politics. In The Nights o f Labor, I analysed from this
perspective the complex encounter between workers and the engineers
of utopia. What the Saint-Simonian engineers proposed was a new, real
body for the community where the water and rail routes marked out
on the ground would take the place of paper dreams and the illusions
of speech. The workers, for their part, did not set practice in contrast
with utopia; they conferred upon the latter the characteristic of being
‘unreal’, of being a montage of words and images appropriate for recon
figuring the territory of the visible, the thinkable, and the possible.
The ‘fictions’ of art and politics are therefore heterotopias rather than
utopias. [66]
On Art and Work20
The link between artistic practice and its apparent outside, i.e. work, «
essential to the hypothesis o f a ‘f a ctory o f the sensible. How do you yo u rself
conceive o f such a link (exclusion, distinction, in differen ce...)? Is it possible
to speak o f ‘human activity’ in general and include artistic practices within
it y or are these exceptions when com p a red to other practices?